A Quote by Stephen King

Description begins in the writer’s imagination, but should finish in the reader’s. — © Stephen King
Description begins in the writer’s imagination, but should finish in the reader’s.
Once you finish a book, it doesn't belong to you anymore. You're giving it to other people. If something in what a writer writes can excite the imagination and the feelings of the reader, then that reader carries it around forever. Nothing is more vivid than good fiction.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
The characters within a book were, from a certain point of view, identical on some fundamental level ? there weren't any images of them, no physical tangibility whatsoever. They were pictures in the reader's head, constructs of imagination and ideas, given shape by the writer's work and skill and the reader's imagination. Parents, of a sort.
The advantage of writing from experience is that it often provides you with details that you would never think of yourself, no matter how rich your imagination. And specificity in description is something every writer should strive for.
A writer only begins a book. A reader finishes it.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
I'm a writer because I love reading. I love the conversation between a reader and a writer, and that it all takes place in a book-sort of a neutral ground. A writer puts down the words, and a reader interprets the words, and every reader will read a book differently. I love that.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
Learn a lot about the world and finish things, even if it is just a short story. Finish it before you start something else. Finish it before you start rewriting it. That's really important. It's to find out if you're going to be a writer or not, because that's one of the most important lessons. Most, maybe 90% of people, will start writing and never finish what they started. If you want to be a writer that's the hardest and most important lesson: Finish it. Then go back to fix it.
For both writer and reader, the novel is a lonely, physically inactive affair. Only the imagination races.
The gift of a writer as good as Dickens is not to explain everything; that way, the reader has, in terms of their imagination, somewhere to go.
How often I have tried to tell writing students that the first thing a writer must do is love the reader and wish the reader well. The writer must trust the reader to be at least as intelligent as he is. Only in such well wishing and trust, only when the writer feels he is writing a letter to a good friend, only then will the magic happen.
Every reader re-creates a novel - in their own imagination, anyway. It's only entirely the writer's when nobody else has read it.
The writer trusts nothing she writes-it should be too reckless and alive for that, it should be beautiful and menacing and slightly out of control. . . . Good writing . . . explodes in the reader's face. Whenever the writer writes, it's always three or four or five o'clock in the morning in her head.
For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.
If the writer were more like a reader, he’d be a reader, not a writer. It’s as uncomplicated as that.
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